a two-dimensional mosaic. But it is a mode of awareness in art 
language and literature which the West took great pains to 
eliminate by means of Gutenberg technology. It has returned in 
our time, for good or ill, as this opening paragraph of a recent 
book (84) indicates:

          Language gives evidence of its reality through three 
     categories of human experience. The first may be 
     considered as the meaning of words; the second, as 
     those meanings enshrined in grammatical forms; and the 
     third and, in the view of this author, the most significant, 
     as those meanings which lie beyond grammatical forms, 
     those meanings mysteriously and miraculously revealed 
     to man. It is with the last category that this chapter will 
     endeavor to deal, for its thesis is that thought itself must 
     be accompanied by a critical understanding of the